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Other Places - Lois Svard performs Elodie Laten, Jerry Hunt, Kyle Gann Lovely
Other Places is an exploration of Svard's interest in new concepts and ideas in music. The three works on Other Places share the ability to expand the performer's and listener's musical parameters in unique ways. Elodie Lauten's Variations on the Orange Cycle is a richly-textured combination of transcribed improvisation and intentional notation that creates lush, ever-changing tapestries of sound. Jerry Hunt's Trapani (stream) is a contemplative work exploring different facets of sound through a progression of tremolo chords played with a variety of voicings, dynamics and pedalings. Trapani's slowly-changing harmonies are serene in their simplicity, yet mesmerizing in their unfolding. Kyle Gann's Desert Sonata is based on his unique rhythmic language developed from the multi-tempo structures of Conlon Nancarrow and the dances of the Hopi, Zuni and other Pueblo Indians. Gann's juxtaposition of widely divergent musical ideas creates an atmosphere that is both compelling and enchanting.
"...[these pieces] have in common an attractive underlying serenity, which Svard sensitively communicates without compromising the individuality of the pieces. In addition to Svard's excellent performances, the sound and notes make this an important release for fans of the piano and the inspiration it still gives composers." -- Stephen D. Hicken, American Record Guide
"Both on the basis of adventurous music-making, and for the stunning debut of Gann's sonata, this disc is highly recommended." -- Robert Carl, Fanfare
Top customer reviews
Jerry Hunt has the pianist here use wrist bells with tremoli, that's where your hand goes, reiterates back 'n forth between either two tones,or three or more, depending on one's strength,or each hand alternating as fast as possible,like beating a drum.Great sheets of sound can be produced this way, which is what happens hear. Hunt has worked in theatre, so the effect is quite spellbinding. Gann's 'Desert Sonata' is a real tour de force. He's been working with the imagery and rituals,the culture of Native American Indians and their music for quite some time. Part Indian himself the work framed in two large movements about ten minutes each,has a dialogue between primitive,primordial like gestures, and for want of a better description "civilized" music, music unfolding itself into patterns as dances.Gann utilizes like a passacaglia from Conlon Nancarrow, from his 'Studies for Player Piano'. So the section here is in 41/16 time.Time seems to be what kills everyone here,for Gann I had wished he would have allowed his quite evocative opening to drift a little longer to summon even more the power of his image of the Desert. The first 'Wind', utilized the mysterious powerful timbre of the lower piano depths,with gentle, delicate interruptions in the tickly upper registers, like some percussion instrument introduced. Erasing the middle register,using not much of it here is great, so we clearly hear the beauty of the bass, making it work its own magical charms. Then also a melody is heard 'Going Home' from a Hopi Elk Dance.It is quite evocative,with these rhythmic punctuations. Gann knows the mysteries of piano timbre quite well, I hear Busoni hovering some place here,more than the apparent frame of Beethoven's Opus 111; pleased with the pure simplicity of the piano timbre and its projection.But Gann has his own voice here.'Night' is simply denser music less expansive,more utilizing rhythmic focus of the Hopi dance again only buried within the texture of things, the lines. Svard, is quite a sensitive player to all this new expressions,or ones where there's not much precedent.